How did the newly established Islamic Republic regulate music following the 1979 revolution, and what have been the effects of those policies on music in contemporary Iran? Journalist and author, Nahid Siamdoust shares from her book, Soundtrack of the Revolution: The Politics of Music in Iran, an alternative history of postrevolutionary Iran viewed through the field of music.

On Dec. 27, Vida Movahed stood bareheaded on a utility box on one of Tehran’s busiest thoroughfares, waving her white head scarf on a stick. Within days, images of the 31-year-old, who was detained and then released a few weeks later, had become an iconic symbol.

In the weeks since Ms. Movahed’s peaceful protest of the compulsory hijab, long one of the most visible symbols of the Islamic Republic, dozens of women, and even some men, throughout Iran have followed her lead. So far, at least 29 women in cities throughout the country have been arrested.

What 10 songs define modern Iran? I know many of you are interested in the music that I write about in my book “Soundtrack of the Revolution: The Politics of Music in Iran.” So I’ve put together a podcast. I tried to choose songs that speak to the most important political and cultural currents in post-revolutionary Iran. But also songs that just tell us what life has been like in Islamic Iran. So on the one hand I have, for example, a track that audiences have turned into the most recognizable ritual of protest, but also a song that was played at every birthday party in 1980s Iran. What would your 10 songs be? Share with me here or on the Soundtrack of the Revolution Facebook page.

The photograph series “Listen” by my dear friend Newsha Tavakolian is highlighted in this article.

Maral Afsharian from Newsha’s photo series is on the cover of Soundtrack of the Revolution. I also mention her in my book in conjunction with her music, as well as her participation in what the state media called a Satanic Party in Karaj in 2007.